A THOUSAND-MILE JOURNEY

STARTS WITH ONE STEP:

DIZI MASTER TIM LIU

N E W S L E T T E R

The New York Flute ClubN E W S L E T T E R

I N T H I S I S S U E

(Cont’d on page 4)

A Thousand-Mile Journey Starts With One Step: Dizi Master Tim Liu ......................................1

by Rebecca Quigley

From the President ......................2Ergonomic Fluting

Member Profile ............................3Sue Carlson

David Weiss Puts Dizi Technologyto Work on Broadway ................8

by Rebecca Quigley

Relaxation for Flutists: A Few Techniques ..................................9

by Patricia SpencerA n n o u n c e m e n t s

Flute Happenings..................................3Ensembles Program Update and

Next Meeting ..................................5New Date for May meeting/concert ....5Flute Fair 2007 Update ......................11

January 2007

Interview by Rebecca Quigley

Tim Liu was born in Kaohsiung, Taiwan, and has been teaching tradi-tional Chinese flute for more than 20 years. During his childhood overseas he was awarded the prestigious Best Musician Award in the

Golden Lion Bamboo Flute Solo Contest and was a member of the Taipei CityChinese Classical Orchestra. Principal flutist of the Chinese Music Ensemble ofNew York from 1983 to 1992, Tim is now recognized as one of the outstandingmasters of dizi in this country. More information about his instruments, educa-tional packages, and Lyrichord-label recordings can be found at his website,

www.2measures.com.

This interview was conducted via email in late October. As a shakuhachi player, Iwas particularly interested to hear about the evolution of dizi, along with its con-

struction and performance techniques.

REBECCA QUIGLEY: Let’s begin with thehistory of your instrument. When is theearliest known reference to dizi in Chi-nese history?

In Concert

Tim Liu, dizi (Chinese bamboo flutes)LiQun Li, yangqin (Chinese hammered dulcimer)BaoLi Zhang, erhu (Chinese two-stringed fiddle)

Sunday, January 21, 2007, 5:30 pmYamaha Piano Salon, 689 Fifth Avenue

(entrance between Fifth and Madison on 54th Street)

Yang Bien Chuay Ma . . . . . . . . . . . . . . . . . . .Wei Shen Dzowng(“Grain Delivery Man”) (1969) (b. 1940)

Zhe Goo Fay . . . . . . . . . . . . . . . . . . . . . . . . . .Hunan folk tune(“Flight of the Zhe Goo Bird”) arr. Loo Chuen Ling (b. 1921)

The General’s Command . . . . . . . . . .Sichuan Yangqin folk tunere-arr. Shean Zhu Fua

Soung Yeo Chu (“Village Utopia”) . . . . . . . . . . . . .Tsai Jing Ming (1958) (b. 1939)

Streams of Sorrow . . . . . . . . . . . . . . . . . . .Shandong Folk Tune

Spring Comes to Xiang River . . . . . . . . . . . . . . .Ning Bao Sung (1977) (b. 1943)

Journey to Gu-Su . . . . . . . . . . . . . . . . . . . . . . . . .Jian Shen Wei (1962) (b. 1924)

The Horseman’s New Song . . . . . . . . . . . . . . . . .Jien Guong Ee (1960) (1944–2000)

Program subject to change

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THE NEW YORK FLUTE CLUB INC.

2006–2007Board of Directors

David Wechsler, PresidentJayn Rosenfeld, First Vice PresidentArdith Bondi, Second Vice PresidentJeanne Wilson, Recording SecretaryKeith Bonner, Membership SecretaryEdward Wolf, Treasurer

Katherine Fink Karla MoeSusan Friedlander Seth RosenthalSvjetlana Kabalin Rie SchmidtFred Marcusa Stefani Starin

Nancy Toff

Advisory BoardJeanne Baxtresser Robert LangevinHarold Jones Gerardo Levy

Marya Martin

Past PresidentsGeorges Barrère .................... 1920–1944John Wummer ........................ 1944–1947Milton Wittgenstein .............. 1947–1952Mildred Hunt Wummer ........ 1952–1955Frederick Wilkins .................. 1955–1957Harry H. Moskovitz ................ 1957–1960Paige Brook ............................ 1960–1963Mildred Hunt Wummer ...... 1963–1964Maurice S. Rosen ................ 1964–1967Harry H. Moskovitz .............. 1967–1970Paige Brook ............................ 1970–1973Eleanor Lawrence ................ 1973–1976Harold Jones .......................... 1976– 1979Eleanor Lawrence ................ 1979–1982Paige Brook ............................ 1982–1983John Solum ............................ 1983–1986Eleanor Lawrence ................ 1986–1989Sue Ann Kahn ...................... 1989–1992Nancy Toff .............................. 1992–1995Rie Schmidt ............................ 1995–1998Patricia Spencer...................... 1998–2001Jan Vinci .................................. 2001–2002Jayn Rosenfeld........................ 2002–2005

NewsletterKatherine Saenger, Editor115 Underhill RoadOssining, NY 10562914-762-8582klsaenger@yahoo.com

Sue Carlson, Layout/Production789 Westminster RoadBrooklyn, NY 11230718-258-5325scarlson@wwnorton.com

www.nyfluteclub.org

Copyright © 2007 by The New York Flute Club Inc. unless otherwise noted. All rights reserved.

This month, I want to talk about posture and relatedoccupational illnesses that affect flutists. We are allathletes of the hands and lips, and as such are subject

to injury. The flute is a very asymmetrically held instrument,and because of this players can be susceptible to little nig-gling performance aches and pains that over time canbecome real chronic problems. Couple that with theabsolutely essential use of the computer for everyone thesedays and your arms don’t get very much of a rest. I havebeen acutely aware of posture issues for about 25 years.

Every time I ever had a small pain doing anything on the flute, I immediatelywent to work in a kind of self-biofeedback mode and tracked down the problem,then successfully corrected it. Of course the Alexander and Feldenkrais methodsare excellent tools to help relaxation, posture, and body awareness.

Here are some of my helpful hints for playing and prolonging flute playing.The first thing one must do when holding a flute is to realize that the very posi-tion of your hands can cause problems. If you turn in too much, you kink yourright wrist. If you turn out too much, you exaggerate the curve of same. Neither isgood. You must find a hand position that gives the best possible gentle curve withthe least amount of kinking or stretching. This is easily accomplished by just turn-ing your headjoint in or out until the position feels good on your right wrist. Ittakes a little getting used to, but is easy. For arms, your upper body from thewaist must point at a slight angle to the left from that of your legs. This has theeffect of moving your arms closer to the center of your body, and correcting someof the unequal weight distribution of your arms and putting them closer to thecenter. This also removes a great deal of pull from your left shoulder. The fluteshould be angled down slightly, not straight out parallel to the floor. Also beaware of keeping your arms naturally hanging down against your body, not in anexaggerated elbows up position, or the opposite, pushing your elbows againstyour sides. There is no need for either, and an elbow up does nothing for breatheven though you may feel that it does.

Players must learn to support the instrument and their arms without any addedtension to their neck and shoulders. I am an advocate of young players playing forlonger periods of time seated on a chair with arms, until they are strong enough tosupport the flute for longer periods. Even older players should do that if they gettired. One must also be careful not to sit slouched. This presses down on yourbelly muscles, which are the entire support system of your breathing. Always sit(and stand!) up straight. A great example for carriage (the really old fashionedword for posture) is to watch ballet dancers in their rest position before they begindancing. They are all standing erect, yet relaxed, understanding the responsibility ofbeing a calm vertebrate. For your face, the only muscular contraction should bethat of your embouchure. The rest of your face should be like a really good TexasHold ’Em player or a Botox injectionee—no expression. You must be careful not todo strenuous exercises or work unless you are used to it. You can hurt your armsthat way. The dangers of tendonitis and carpal tunnel syndrome are real. If you usea computer a lot, you must watch the angle of your arms in relation to the key-board. A minor thing to correct, yet a major cause of damage.

I am a righty, and for most of my life my left hand has gotten away with doinglittle. When I began to have tension in my right arm at the computer, I startedmousing with my left hand. At first I was embarrassingly uncoordinated, but now Iam better than with my right hand. I now lead with my left, doing basic everydaytasks as a lefty, to more equally distribute the workload. Of course, there’s no sub-stitute for being ambidextrous. I would love to be ambidextrous. Why, I’d cut offmy right arm to be ambidextrous! Ba-dump-pa. I hope you find these little sugges-tions helpful, so you can concentrate on music, not pain.

Ergonomic Flutingby David Wechsler

From thePresident

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January 2007 — 3

FREE to current NYFC members, this section lists upcoming per-formances by members; flute-related contests, auditions, andmasterclasses organized/sponsored by members; and briefdescriptions of members’ new recordings, sheet music, and books.Send submissions to the Newsletter Editor.

FREE to current NYFC members, this section lists upcoming per-formances by members; flute-related contests, auditions, andmasterclasses organized/sponsored by members; and briefdescriptions of members’ new recordings, sheet music, and books.Send submissions to the Newsletter Editor.

Thursday 7:00 pmDuo Del Norte with SHARONLEVIN, flute, and Gene Pino, guitar,

performing a mix of baroque, classical, Latinand popular music including chorhinos byAbreu and others, Ecuadorian mestizo music,Fauré’s Pavane and Chopin’s Variations on aTheme by Rossini.

• The Westport Arts Center, 51 Riverside Ave-nue, Westport, CT. • Admission: $20. • Info, callSharon Levin at 203-557-3973.

Saturday 5:30 pmELISE CARTER, flute, with Lin Li,piano, Dave Calkins, guitar, and

Matthew Demerritt, saxophone, in a recital ofworks by Burton, C.P.E. Bach, Reinecke,Schocker and others.

• Weill Recital Hall, 154 West 57th Street, NYC.• Admission: $25 (through Elise Carter at 973-851-5435 or box office on day of performance).

Sunday 8:00 pm“Second Viennese Roots andShoots,” a program of seminal

music of the early 20th century with reverber-ations in today’s hearts and ears, by the DaCapo Chamber Players with PATRICIASPENCER, flute. Works by Arnold Schoenberg(arr. Webern), Hanns Eisler, Alban Berg,George Perle, Milton Babbitt (a solo flutepiece), and a world premiere by Kati Agocs.

• Merkin Concert Hall, 129 West 67th Street,NYC. • Admission: $20 general, $10 students/seniors. • Box office 212-501-3330 or visit www.dacapochamberplayers.org.

Thursday 1:30 pmThe OMNI Ensemble, with DAVIDWECHSLER, flute, Deborah Sepe,

cello, Jim Lahti, piano, in a program includingJ.S. Bach's Suite in B minor and piano quar-tets by Fauré and Copland.

• Center for the Arts at the College of StatenIsland, 2800 Victory Boulevard, Staten Island,NY. • Admission: $15 general, $10 students/sen-iors. Info/reservations, call 718-859-8649 or visitwww.omniensemble.org.

JANUARY ’07

FEBRUARY ’07

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Employment: Manager of digital produc-tion for the book publisher W.W. Nor-ton & Company, and freelance flutist.

A recent recital/performance: A busyNovember 2006: two performances ofMadama Butterfly with the Brooklyn-based Regina Opera Company; soloistfor the same group’s InternationalOpera and Song Festival, playing “TheSwiss Shepherd”; and a performancewith her woodwind quintet, Viva Voce,on Staten Island.

Career highlight(s): As a flutist: princi-pal in the Knoxville (TN) Symphonyfollowing graduate school, then yearsas a freelancer with many different NY-area orchestras including American Bal-let Theatre. Performances with theSylvan Winds, a 1988 performance atthe Library of Congress with the Gal-liard Wind Quintet (when she and theoboist, Judith Dansker, were both aboutnine months pregnant), and lots ofchamber music with her current quin-tet. At Norton: getting a “top secret”security clearance and then doing thelayout/typesetting of the 9/11 Commis-sion Report in one straight 56-hourperiod in July 2004 to make a press runon Saturday for books in the store onThursday.

Current flute(s): A commercial modelPowell from the 1980s that she lovesfor its big, rich sound, and a Jeff Weiss-man piccolo selected for the samereason.

Influential flute teachers: Her firstteacher, Alexander LeSueur, a former

Kincaid student, who was teachingnearby at Western Carolina University;later, Philip Dunigan at the North Car-olina School of the Arts (from whomshe learned the real meat and potatoesof flute playing), Samuel Baron (atSUNY Stony Brook), Tom Nyfenger,and Trudy Kane.

High school: Sylva-Webster High Schoolin Sylva, NC (where she spent many,many hours with the Golden Eaglesmarching band “getting it right”).

Degrees: BM (North Carolina School ofthe Arts, 1977); MM (SUNY StonyBrook, 1978).

Most notable and/or personally satisfyingaccomplishment(s): Raising her twokids and seeing them turn into “reallygreat people”; regaining her health aftersome scary medical troubles. She says,“Although I love music with a border-line religious devotion, the music busi-ness is not where I want to be. I feellucky to have found a career that chal-lenges my brain every day and stillleaves me enough energy to play.”

Favorite practice routines: Practicing isnot Sue’s favorite thing. But to warmup the lips she still does a series ofarpeggios and scales Philip Dunigantaught her years ago, a routine she alsofinds helpful for agility and intonation.

Other interests: Volunteering at theRegina Opera (her family company, co-founded by her sister-in-law), whereher children perform with the chorusand her husband runs the sound sys-tem; reclaiming her inner jock with anow-seven-year-old routine of swim-ming (currently 3 miles per week),yoga, ballet, and Pilates; and improvingher photo retouching skills (despite thefact that this sounds a lot like what shedoes at her day job).

Advice for NYFC members: Sue says, “Igenerally try to steer clear of givingpeople advice . . . unless you’re a fam-ily member, then look out!”

Member ProfileSue CarlsonNYFC membersince 2006Newsletter layout/production editor since 2006

FLUTE

HAPPENINGS

Flute Happenings DeadlinesIssue Deadline Mail date*February 2007 01/11/07 02/08/07March 2007 01/25/07 02/22/07April 2007 03/15/07 04/12/07May 2007 04/05/07 05/03/07*Projected

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TIM LIU: There are two schools ofthought about where dizi originated.Official documents show that dizi wasbrought back from somewhere west ofChina by Emperor Wudi’s messenger,Zhang Qian, in 119 BCE. But the dis-covery of older flutes in several ancienttombs show that the Chinese playedbone and bamboo flutes long before.Some examples: a flute was found in atomb from the Eastern Han dynasty(206 BCE–9 CE) with an extra hole,perhaps for pasting a membrane; twobamboo flutes were found in a tombdated to 168 BCE; and more than thirty9,000-year old flutes (made from thewing bones of the red-crowned crane)with five or seven holes were found inthe village of Jiahu (Central YellowRiver Valley).

Despite some experimental dizi (11-hole flutes, half-note flutes, oradapting Western-style mechanical keysfor temporary notes), six-hole dizi arestill the popular choice of most diziplayers. Dizi have basically been thesame since the Yuan Dynasty(1279–1368 CE).

RQ: Let’s talk about your background.Can you tell us about your earliestmusical studies?TL: I think I am the first musicianamong my relatives. My parents like tosing and I think that is all the musicalbackground I got from my family.Around age 12, my school was lookingfor students to participate in a newlyformed Chinese Classical Ensemble.

What attracted me to join was that wewouldn’t have to go to daily morningand afternoon cleaning, and flag-raisingand lowering ceremonies, plus I wouldbe able to get close to some cute girls!Erhu [a long-necked two-string fiddlethat is played with a bow] was myassigned instrument, but I loved thesound of dizi. I got good at it and aftera half-year of practice, won myself afourth place award at the city musicalcompetition (Yes, there were more thanfour kids in the competition!). Seeing myname printed in the newspaper was abigger deal than a useless paper certifi-cate. At that time, you had to take a city-wide test to fight for high school seats,which were limited. Most families savedup money for their kid to go to “afterschool study” to prepare for that impor-tant test. My parents gave me moneytoo, but I hid it under the sink and wentout to practice when it was time to goto those classes. While the others stud-ied, I practiced dizi at the park, in thedark, where nobody would bother me,because people believed that playingdizi at night attracted ghosts. I was notafraid of that nonsense, but do remem-ber mosquitoes in the summer, coldwinds in the winter, and a few “realityshows” in the darkness of the park, ifyou know what I mean.

RQ: At what moment did you know youwould pursue music for a living?TL: It may have been those two slapson the face from my Dad, after I toldhim I got accepted, and was leavinghome to go to music school! I am notquite sure if those two slaps strength-ened my mind to pursue music for aliving or not, but after he spent all hismoney to send me to music school[there was no way] I could change mymind. I did not link music playingwith money until I got into a profes-sional music ensemble and realizedhow much money I could make byplaying music and teaching privatestudents.

RQ: What was it like to win the BestMusician Award in the Golden LionBamboo Flute Solo Contest in 1981?TL: I was in the army serving mymandatory two years at the time of thecompetition. I asked my dizi teacher forguidance about entering the competi-

tion, and he suggested that I not,because the association sponsoring thatcompetition was from another musicschool and students from my schoolmight not be treated fairly. I thoughtabout it for a few seconds, decided Ididn’t have anything to lose, and signedup for the competition.

I asked my captain in the army fora day off to go to the competition.Jokingly, he told me, “If you don’t winthe competition, don’t come back tosee me.” You should have seen hisface when I showed him my nameprinted in the newspaper to prove thatI had actually won. I got five “Honor-able Wild Vacation Days,” and areward of $10,000 [new Taiwan dol-lars]. I had never had that muchmoney in my life before, and it was agood foundation for a young soloist.That helped me get into the only pro-fessional Chinese music ensemble inTaiwan at that time. It turns out that itwas a very fair competition after all!

RQ: When and why did you arrive inthe United States?TL: In 1982 or 1983, after my two years’service in the army and one year in theTaipei Municipal Chinese Music Orches-tra (the only professional Chinese musicensemble in Taiwan at that time), I saidgood-bye to the members of theorchestra, my two girlfriends, and pri-vate students, and packed my bags. Iarrived in the US with exactly $3 in mypocket, which I paid to the luggagecarrier who was so eager to take careof my luggage. They were my last $3—I did not know I would have to paythis friendly person to help me!

My parents had saved up enoughmoney to open their own Chineserestaurant in Spotswood, NJ. Being theoldest son, I could not say no to my“duty,” but had to help my parents whohad supported me all these years. Istarted my duty the day I arrived to theUS, going right into the kitchen directlyfrom JFK Airport.

Two months later, I wrote lettersback to my two girlfriends, along thelines of, “Forget about me, don’t wait,go find someone else while you are stillyoung, Christopher Columbus waswrong, it’s hopeless here, very tired,

Tim Liu (cont’d from page 1)

(Cont’d on page 6)

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January 2007 — 5

Saturday 8:00 pmThe OMNI Ensemble, with DAVIDWECHSLER, flute, in same program

as February 8.• Brooklyn Conservatory of Music, 58 SeventhAvenue (corner of Lincoln Place), Brooklyn, NY.• Admission: $15 general, $10 students/seniors.Info/reservations, call 718-859-8649 or visitwww.omniensemble.org.

Sunday 2:00 pmDuo Del Norte with SHARONLEVIN, flute, and Gene Pino, gui-

tar, in the same program as January 18.• Westport Public Library, Arnold BernhardPlaza, 20 Jesup Road, Westport, CT. • Admis-sion is free. • Info, call 203-291-4840 or visitwww.westportlibrary.org.

Sunday 4:00 pmThe Kaiser Woodwind Quintet withLAURA KAREL GEORGE, flute,

will perform a world premiere of NJcomposer Louis Gordon’s “Movements,” com-positions by Leon Karel and Franz Danzi,Ronald Roseman’s Renaissance Suite, andtranscriptions of music by Gershwin,Respighi, and Cervantes.• St. Cassian Roman Catholic Church, 187

Belleview Avenue, Upper Montclair, NJ. •Admission: $15 suggested donation. • Info, call973-744-2850.

Sunday 8:30 pmFlutist MICHAEL PARLOFF andfriends will perform music of

Schulhoff (Sonata for flute and piano),Debussy (Chansons de Bilitis), Schubert(“Trockne Blumen” Variations, Op. 160),Bach (Sonata in G Minor, BWV 1001), andJongen (Concert à cinq for flute, string trio,and harp, Op. 71).• Weill Recital Hall, 154 West 57th Street, NYC.• Admission: $35 general/$15 students/seniors.• Info, call MidAmerica Productions at 212/239-4699 or email mwaymire@midamerica-music.com.

Wednesday 7:00-9:00 pm“Swinging on a Star,” a masterclassby Paula Robison featuring love

songs and melodies, TBA.• Diller-Quaile School of Music, 24 East 95th

Street, NYC. • Admission (auditors): $30 gen-eral, $15 students. • Info, call Heather Holdenat 212-369-1484 x26, or email hholden@diller-quaile.org.

Ensemble Program Update and Next Meetingby Annette Baron, NYFC Ensembles Coordinator

The second ensemble get-together for the2006–7 season was held on Sunday, Decem-

ber 10th in New Jersey. The five participants, repre-senting a range of levels, benefited greatly from workingtogether and learning from each other. For two hours, the group playedthrough a variety of popular, classical, and novel choir pieces and talkedabout flute manufacturers, fingering issues, phrasing, tone, breathing,blending, and technique.

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FLUTE

HAPPENINGS

NYFC members Gwen Glaz, Hal Archer, Vanessa Levario, Diane Lynch, andAnnette Baron participated in the December 10 ensembles get-together in NJ.

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New Date and Place for May Ensembles Concert

and Annual MeetingSunday, May 20, 2007

Greenwich House Music School46 Barrow Street, NYC

5:30 pm

NEXT ENSEMBLES GET-TOGETHER

Sunday February 4, 20072:00–4:00 pm

The next ensembles get-together will be in Brooklyn (Park Slope), at the home of Julia Porter, 463 17th Street,Apt. #9. Please RSVP to Annette Baron.

Annette BaronNYFC Ensembles Coordinator

New York Flute ClubEmail: NYFCEnsembles@aol.com

Phone: 973-244-0992

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6 — NYFC Newsletter

need sleep, good-bye.” They must havethought that because I was a restaurantowner’s son I was having a good life inthe US, and had decided it was thetime to dump them. But that was notthe truth. I did not see hope at thatmoment and thought I was doing thema favor.

RQ: Did something happen after that tochange your mind and make you wantto stay in the US?TL: I did not change mymind. I believed once I leftTaiwan, my music careerwould be over, that as the oldestson I felt it was my turn to con-tribute and my duty to help the fam-ily. My heart told me that it was theright thing to do and I followed it. I amglad I made that decision. More than afew times I wondered if maybe I wouldbe happier, become famous, or makemore money if I had stayed in Taiwan,but because I followed my heart, I hadpeace in my mind and knew every-thing would be all right in the future.

RQ: Can you talk about your experi-ences during the nine years you per-formed with the Chinese MusicEnsemble of New York?TL: The Ensemble was founded by Mr.Tran-Nien Zhang with four other mem-bers. Mr. Zhang was friends with myerhu teacher back in Taiwan. When Ijoined the group in 1982, there wereonly one or two formally-trained musi-cians, but their musical style was veryrich, and I hungrily absorbed from eachplayer’s style like a starving baby. I dis-covered some beautiful music fromthese amateur players and got to per-form many famous dizi solo pieces thatwere not allowed to be played in Tai-wan at that time because it was consid-ered to be “promoting communistculture.” Later, when more professionalperformers joined the ensemble, itenriched and expanded my music styleeven more. I remember when BaoliZhang had just joined the ensembleplaying erhu, his playing made methink, “That is the way it should be.”

RQ: What have been your experienceswith the Western flute?

TL: I tried it once, but didn’t have anyspecial feeling about it. I am sure learn-ing more would open up my world andadvance my dizi playing, but when youare in love with someone, you don’teven want to look at others. Thethought of the benefits of playing fluteonly entered my mind for a few sec-onds. It’s OK, I can only handle onelover at a time, and I know mylimitations.

RQ: How do you balance your perform-ing career with your day job?TL: I keep reminding myself that I wantboth, and that I can have it all. My day-time job in sales allows me to arrange

my own hours and my time is spentbetween my two sons, my job,

practice, performances and myweb business (www.2Mea-

sures.com). I get uparound 7:00 am and

rarely hit the bedbefore1:00 am. Irealize this isnot a good thingfor my health, butyou only live once andI only have 24 hours perday, so what can I do?

RQ: How did your business comeinto existence?TL: I got calls from a few professionalwoodwind players [see sidebar discus-sion with one of them, David Weiss],especially after the Broadway showsMiss Saigon and The Lion King opened.I was busy with my daytime job, prac-tice, performances, and my newbornfirst son, so I just didn’t have the timeto give private lessons. But the demandof people wanting to learn how to playdizi kept coming up, and finally, Istayed up to 5:00 am for more than afew nights to put my first instructionalprogram together. Based on my teach-ing experiences, I’ve tried my best tomake the program as clear as possible.I then offer my full support via emailand any form of communication possi-ble. To me, it’s a joy to receive record-ings from participants, to share theirprogress, and to get asked for my opin-ion of their playing.

After the program was made, Icalled Carol Wincenc for [feedback].

She told me she loved the program andwas nice enough to give me herendorsement to help me promote it.Along with her endorsement, and thoseof Dave Weiss and Paula Chan Bing, Idistributed my program throughwww.shakuhachi.com, the website ofMonty Levenson, a wonderful shaku-hachi maker out in California. I set upmy own website after I produced myother two dizi programs.

RQ: How were your instructional pack-ages How to Play the Dizi and 2 Mea-sures at a Time™ influenced by yourexperiences as a teacher?TL: I find that most students absorbonly 50% of what I teach them duringlessons, and after the lesson, most stu-dents forget 50% of what theyabsorbed. (Perhaps because I am not avery good teacher? Or maybe they arenot very good students?) Then, whenthey practice at home, they practice thewrong way without knowing it andwaste lots of their money and my valu-able time. I told myself, what if theycould follow and practice with me

every two measures at a time, everytime? Would they practice the

“right way” and get better resultswithin a much shorter time?

Sure they will! I think thismethod is not only limited todizi.

RQ: The 2 Measures at aTime™ method was inspired

by an old Chinese proverb. . . .TL: Yes, “A thousand-mile journey startswith one small step.” A destination athousand miles away seemed impossi-ble in old China, but with an experi-enced guide by your side, a thousand-mile journey can be achieved by takingone small step at a time. This appliesto learning dizi as well. The 2 Measuresat a Time™ method is based on thenatural learning process of imitationand repetition. You can go at your ownpace, repeat each individual lesson asmany times as you wish, and get feed-back from me by email. The programcomes with a dizi, dizi accessories(membrane, membrane glue, and tas-sel), the CD, and my book, so partici-pants can start to learn and enjoy thiswonderful instrument the minute theyopen the package.

Tim Liu (cont’d from page 4)

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January 2007 — 7

RQ: Let’s talk about the construction ofdizi and how it differs from the Westernflute. Can you describe the mokong (thehole between the embouchure and thefinger holes) and the dimo membranethat covers it? Why is the dimo selectionand pasting ability so important to thesound of dizi?TL: Compared to the modern Westernflute, dizi have a very simple construc-tion. On the upper side of the bambootube it has one embouchure hole, onemembrane hole, six fingering holes, andtwo holes to balance/correct the pitch.On the underside of the bamboo, thereare another two holes at the end to bal-ance/correct the pitch and from whichsome people hang tassel decorations.

A special feature of dizi is themokong. This membrane hole wasinvented by Liu Xi during the Tangdynasty (618–907 CE). The mokong islocated between the embouchure holeand fingering holes, and is covered bya thin membrane called the dimo.When the dizi is played, the dimovibrates and produces a very specialcrisp sound. The inventor called hisnew instrument Chi Sing Guang or the“seven stars tube” (six finger holes plusone membrane hole equals seven) andsaid the reason for his invention was to“help produce a better sound.”

The dimo is very sensitive to mois-ture and the temperature of the envi-ronment. Dizi players adjust it fromtime to time to get the best sound wecan and when we cannot get the soundto our liking we have to change it. Diziplayers are very picky about the qualityof the dimo; how it should be pastedand how loose or tight it is adjusted. Ionce ran into a so-called “woodwindspecialist” who proudly told me that hepasted Saran Wrap™ on the membranehole, and was able to leave it on foryears. What does that say about his tal-ents if he cannot recognize the differ-ence in sound between Saran Wrap™

and a real membrane?

RQ: What other modern flute techniques,like circular breathing, flutter-tonguing,multiphonics, and harmonics, are usedon dizi?TL: Dizi techniques can be categorizedinto three kinds: blowing, fingering,and tonguing. Long and even breathingis fundamental. Dizi players also use

circular breathing, and a variety ofvibrato types and timbres. Fingeringtechniques include trills, glissandi,tremoli, portamenti, and half-holing,among others. The basic tonguing tech-niques are flutter-tonguing and differentkinds of staccati such as single-, dou-ble-, and triple-tonguing. The use andcombination of these techniquesdepends on the styles (folk, silk andbamboo, or operatic), schools (South-ern or Northern) and regions (Shangshiprovince or Hebei province) of dizirepertoire. However, contemporaryconservatory-trained performers aregenerally required to integrate all thesetechniques so that modern composerscan freely apply these techniquesaccording to their specific needs.

RQ: You have recorded several albums.Can you tell us about the challengesyou faced in the recording studio withdizi?TL: In the recording room usually theair is very dry. This slows down thedimo’s vibration, making the dizi soundmuffled. The same thing happens onthe concert hall stage, especially on abrightly lit stage.

A humidifier in the recording roomwill usually take care of the drynessproblem, but on the stage we rely onour experience to paste the dimo looserthan usual, then count on the brightlylit stage’s higher temperature and dryerair to bring the dimo down to the righttightness. Most of time it works, butwhen we paste it too loose, and thedimo does not come back to the righttightness in time, we are in serioustrouble, because it is very hard to blowout high notes when the dimo is tooloose. That happened to me once onstage and is a recurring nightmare—it istime for your entrance and no soundcomes out of your instrument!

RQ: Can you tell us about your upcom-ing NYFC concert?TL: Since this is the first time I am play-ing for the Club, I will just share somedizi music I like and mix traditional andmodern pieces. I will start with asmaller Northern-style dizi called BanDi(literally opera flute), follow by a largerSouthern-style dizi called QunDi. I willplay these two pieces without anyaccompanying instruments to let the

audience compare the different playingstyles. My friend LiQun will demonstrateYangQin (hammered dulcimer) for us,then my friend Baoli Zhang will demon-strate the erhu with LiQun’s accompani-ment, and we will play several piecestogether. If time allows, we will answersome questions and let the audiencemembers look at the instruments. Bythe way, there will be an after-concertdinner in Chinatown, and you are allwelcome to join us. We’ll share thecosts for about $15–20 per person.

RQ: Have you composed works for dizi?Will any of your compositions be fea-tured in the concert?TL: I have written a few songs and anensemble piece, but none for dizi.There are still too many lovely dizipieces out there that I haven’t had timeto play yet. Maybe after my two youngsons move out of the house, I will havea chance to give it a try! ❑

�Rebecca Quigley is a Westchester-based freelance flutist, teacher, andshakuhachi player.

RQ and TL thank Mary Ann Lach (Mrs.Tim Liu) for her help in straighteningout the nuances of TL’s English.

LiQun Li at the Chinese hammered dulcimer.

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8 — NYFC Newsletter

DAVID WEISS PUTS DIZI TECHNOLOGY TO WORK ON BROADWAY

David Weiss, a New York City-basedmusician, performs on flutes and wood-winds from many different cultures.Active in the recording industry, he hasbeen heard on television commercials,films, documentaries, and CDs.

REBECCA QUIGLEY: When you met TimLiu, did you already have a personalinterest in the dizi and Chinese music,or did you need an instrument for a job?DAVID WEISS: I’ve always been inter-ested in world music, beginning withEast Indian and Japanese music. I firstmet Tim in 1991, through a friend. Ifound his instruments suitable for work-ing with a western ensemble, after I re-tuned them a bit. I bought them to usein Miss Saigon, for which I had justbeen hired, but also because I con-cluded they could work for me in manydifferent ways. Tim imports his dizifrom both Shanghai and Beijing; myinstruments are about 15 years old.

RQ: Let’s talk about the mechanics ofyour instruments. What pitch is yourdizi tuned to?DW: Because dizi have no keys—andhave just six fingerholes—it is necessaryto use different instruments dependingon which key you are in. Chinese musi-cians carry instrument cases with 12flutes, because it is essential to have aflute in each key. This sounds expen-sive, but I could have purchased a newflute headjoint for what I’ve paid for allmy flutes from Tim. The range of eachinstrument is about two octaves. Thelowest one I have starts on F# abovemiddle C; the highest is a fifth up froma piccolo.

RQ: The bamboo on my shakuhachirequires constant attention to preventcracking in drier climates like NewYork. Do you have to take extra steps toprotect your dizi?DW: Like shakuhachi, dizi are made ofbamboo, and have tone holes and inte-rior bores evened out by hand. But thedizi is bound at several intervals bywire, and this really helps prolong thelife of the bamboo. Repairs and patches

are possible in the bamboo with epoxyand “pining.” I rub oil into the bamboothree to four times each winter, a tech-nique also used by shakuhachi players.I’ve found playing around New Yorkthat the halls are dry, but not too dry,and the older the instruments, the morethey seem to adjust to our climate.

RQ: How did you get your start playingon Broadway?DW: In 1983 I got a call from a musiccontractor who needed a flute playerfor a Broadway production of theShakespeare play All’s Well That EndsWell. Andrew Lolya, who had been myteacher at the Manhattan School ofMusic, recommended me for the job.The show closed after about twomonths, but my name got around, andI started subbing for other musicians.I slowly started getting more showsof my own. I’ve worked on over 50productions, between shows of myown and subbing. These days, Isplit my time between the the-ater and the recording studio.

RQ: Tell us about how andwhen you use the dizi in The LionKing. Was it written in the score, or didyou suggest the instrument for itstimbre?DW: I was hired to play for The LionKing because they wanted someonewho could play flute, piccolo, pan-pipes, and all sorts of “ethnic flutes” (Ihate that term, but that’s another story).The idea was to jointly create the part,as I brought an extensive knowledge ofthese unusual instruments and the dis-tinctive colors they have. The com-posers were willing to go anywhere inthe world musically to get “the sound”that worked. I play 13 instruments inthe show. Three of them are dizi I pur-chased from Tim. One is a high Fsopranino dizi and another is pitched inB major. One utilizes dimo paper, themembrane that gives the dizi such adistinctive sound. The other sounds likea standard wood flute. The dizi werenot originally part of The Lion Kingscore. I brought them into the mix. The

beauty of Tim’s instruments is theirmalleability—if you play them without“Chinese” ornamentation, they canwork in almost any ensemble, and notsound Chinese.

RQ: What scene(s) does it appear in?Can you also briefly talk about the otherflutes you use in the show?

DW: The song “Can You Feel The LoveTonight” features the two B instru-ments, especially the one with the dimopaper. It has a very sensuous soundand fits the instrumental ballet in themiddle of the scene. The other flutesreally “color” the characters of theshow. The panpipes are associated withSimba, the young Lion King; his fatherMufasa, the older Lion King, is coloredwith low wood flutes. One of the diziin B is also featured right after Mufasadies. The evil uncle Scar gets stuck withthe nasty sounding bass pan pipes. I’veused dizi for all sorts of things, literallyevery aspect of the business. It’s up tothe player to take the instrument some-where new.

For more about David Weiss, visitwww.davidweissflute.net.

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January 2007 — 9

Building a relaxation habit intoone’s flute technique is one ofthe cornerstones of learning the

instrument—others including, of course, a deep artistic involvement with the world of music, a tirelesssearch for your own creative voice, aconstant curiosity and excitement aboutunderstanding/shaping/hearing more in the repertoire (and not just fluterepertoire!).

The importance of the relaxationcornerstone is sometimes underesti-mated. We all want to play ever fasterand louder, tongue at the speed oflight—we imagine technique-buildingas the development and strengtheningof certain muscles and muscular mem-ory patterns. But for maximum effi-ciency and effectiveness (and thusmaximum fun!), the habit of looseningand releasing needs to be an integralpart of all technical workouts.

Below are a few relaxation methodsI have found helpful in my own play-ing and teaching.

“No-fault” PracticingAn important first thought: if you areexperiencing tension, don’t imagine thatyou are somehow at fault. In manycases, almost the opposite is true: thefact that you feel the musical excite-ment, that you care about the soundthat comes out of the flute, leads youto put out special effort which can takethe form of physical clenching. Most ofus (probably 99% of the people I haveworked with or taught) need todevelop methods to counteract this.The tension slows the learning processand makes performances into daunting,high-pressure events instead of enjoy-able challenges, opportunities to com-municate your artistic vision.

A “no-fault” approach to practicingcan be step one. When you play awrong note (or wrong rhythm, or outof tune note, or wrong dynamic, etc.),rather than saying “Oh, how stupid Iam, that’s wrong, it should be an F�”(for example), try simply saying

“Oops—next time I’ll be sure to play anF� at that spot” (or the correct rhythm,or a louder crescendo, or whatever isneeded). This simple change keepsyour level of observation high, andomits the tension-producing part about“how stupid” the error was. Everyonemakes errors. The trick is to deal withthem intelligently and with a “loosen-ing” approach to fixing them.

SingingSinging a phrase or a tricky spot can bea helpful way of learning it—away fromthe flute. This eliminates the fingeringand tone production part and lets yourelax and focus just on the musicalshape and rhythm. It is also helpful tosay just the rhythm (not worrying aboutthe pitches) and vice versa—sing justthe pitches and no rhythm. And here’sa surprise: it actually doesn’t matter ifyour voice won’t “go” to the pitchesyou’re learning—the process of tryingto get it to go there will still help yourflute playing!

Every breath is a special opportunity for relaxationWe all know that, in order to developsmooth and quick finger technique, weneed to practice slowly. But how oftenwe forget to apply the same wisdom tothe development of breathing technique!This is partly because of our wonderfulAndersen etudes, which for the mostpart leave little or no time for breaths,even between phrases. Our repertoire isalso chock-full of fabulous pieces (theBach Sonatas!) that require quick andhopefully quiet breaths.* Therefore inorder to build a habit of relaxation withevery breath, we must start by simplytaking the extra time that is needed for arelaxed breath. Try this for a week: forat least half of your practice time on anAndersen study, put a quarter rest, witha fermata over it, at the end of every

phrase. (Then take it away and breathequickly for the other half of the time.)Do the same for your scales—put a nicefermata over every breathing spot. Twoyears ago I was privileged to play onthe same concert (at an NFA conven-tion), with the superb flutist PaulEdmund-Davies, first flutist with the Lon-don Philharmonia Orchestra. In additionto hearing his wonderful performanceand rehearsals of the John Harbisonconcerto, I heard part of his pre-concertwarm-up: he was playing Taffanel &Gaubert No. 4, and he was taking sev-eral beats for every breath!

Here’s something else to try: playyour scales until you are almost but notquite out of breath, then, instead ofbreathing immediately, exhale a littlemore and at the same time relax yourjaw, throat, shoulders, and breathingmuscles. This could result in your nextbreath simply coming in as a reflex,which would be terrific. But even if thelittle extra “puff and release” does nothappen to trigger a reflexive breath, itis still a good relaxation habit and willimprove your sound. (Needless to say,as with developing speed of fingers,after slow practice one must also gofast—but with a looser feeling!)

“Paint the ceiling”**Intersperse your flute practice with var-ious relaxing physical stretches. One ofmy favorites is “paint the ceiling,” aseries of arm circles. Put the flutesomewhere safe. Let your right arm falllimply at your side and then spreadyour fingers into a big wide openhand. Rotate your hand clockwise,pointing your thumb away from youand back, perhaps even toward thewall behind you. Imagine your wide-spread hand is a paint brush, and, with

RELAXATION FOR FLUTISTS: A FEW TECHNIQUES

by Patricia Spencer

(Cont’d on page 10)

* This short article will not describe themechanics of breathing technique (thatwould be a different article!).

**This exercise came from a wonderful classI attended in “Semiokinesis,” taught by MarcBassis. For more information, see: http://www.semiokinesis.org/mski/Accueil.html.

NYFC JAN07.6pp 12/30/06 9:46 AM Page 9

10 — NYFC Newsletter

a big arm circle from way behind youto way above, you are painting first thewall behind you and then the ceilingwith the center of your palm. Let yourgaze follow your hand, and pause atthe highest point of the arc, with yourfingers still spread wide and your palmfacing straight up. This will feel a littleuncomfortable, as you are stretchingyour hand, wrist, forearm, and shoul-der muscles. After a few seconds ofholding the stretch, relax your handand let your arm “flop” down in theforward curve of your circle. Repeatwith your left arm; do both sides, alter-nately, five to ten times. Try inhalingon the upward part of the arc, andexhaling on the downward “flop,” andask yourself if that gives you evenmore relaxation.

Thought-practicingThis simple technique not only pro-motes relaxation but also speeds upthe learning process. After you haveplayed a “tough spot” several times,instead of actually playing it, imagine itas clearly as possible in your head:sing it silently to yourself, imaginingeach fingering change, no matter howslowly. Don’t move your fingers—justimagine the movements. And don’t beshocked if it takes several seconds toimagine a finger change that you canalready manage easily on the flute.This process brings the essence of thefingering (or the big slur, or thepitch/dynamic control, or whateveryou’re working on) into a differentlevel of consciousness and helps youshed some of the extra, tension-related

motions that you might be addingwhen you actually play.

In an insightful article,*** Betty BangMather reported on an experiment in“thought-practicing” by basketball play-ers. Team A practiced as usual, shoot-ing baskets and making passes, team Bsat on the benches and imagined whatif felt like to shoot baskets and makepasses, and team C did a combination.The team that improved the most wasteam C. And the team that made thesecond most improvement was teamB—after only sitting on the benchesand “thought-practicing.”

1

4 5

2 3

The author demonstrates the “paint theceiling” exercise: (1) Let your right arm falllimply at your side and then spread yourfingers. (2) Rotate your hand clockwise,pointing your thumb away from you. Let-ting your gaze follow your hand, start abig arm circle from way behind you toway above, first “painting” the wall behindyou (3) and then the ceiling (4). Afterholding the stretch for several seconds atthe highest point of the arc, relax yourhand and let your arm “flop” down in theforward curve of your circle (5).

*** Betty Bang Mather, “Playing the Flutewith Your Whole Brain,” The Flutist Quar-terly, Vol. XV, No. 4, Fall 1990.

Photo

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Bondi

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January 2007 — 11

Tonguing workoutsIn the same way that swimming or run-ning can contribute to relaxation andsmooth muscle coordination, a moder-ately strenuous tonguing workout canhelp relax your tongue and throat.Depending on your level, this workoutcould be some tongued scales, anAndersen tonguing etude, Saint-Saëns“Volière” (or perhaps Marco Granados’sfun “Hibiee-Jibiees” joropo etude!).Intersperse your workout with restingmoments (maybe with some relaxedbreathing exercises) and keep focusingon loosening and “floating” all the jaw,neck, and occipital musculature. Makesure to incorporate nice long relaxedbreaths into your workout, especially atthe beginning. (As you get into it, youmay find that your breaths naturally getquicker while still keeping relaxed.)Also make sure not to overdo it. Experiment with different time periods(10–15 minutes, up to 45) and figureout what works for you. A helpfulsecret—it doesn’t have to be daily! Fordeveloping both speed and relaxation,a tonguing workout four or five times aweek is sometimes even better thandaily.

Play slowerThis is so obvious you’ll think I’minsulting you—nevertheless, each yearat auditions I am amazed at how manyyoung players play too fast for them-selves, sacrificing relaxation, tone color,phrasing, and notes in the process. Atleast half of your practice time on diffi-cult passages should be slow (andsinging), building relaxation into thephrase at each of several different slowtempos. Furthermore, the fast practicecan be in short spurts, interspersed withrests, for the same reason.

“Bell for awareness”A certain ebb and flow of tension andrelease are part of the learning process.By going a little bit beyond your limit, inspeed, softness, tonguing, or whatever,you’ll experience more relaxation in thenext day’s session. A student once toldme she had attended a meditationretreat where a “bell for awareness” wasrung at random intervals. When theyheard the bell, they would each take amoment to check in on their breathing,balance, and spiritual connection withtheir activity. After they had completedthe retreat, their teacher suggested they

use a bell we all hear everyday as acontinuing “bell for awareness”—namelythe telephone. Personally, I have toadmit I have not been able to learn toloosen and relax and do a little breath-ing exercise whenever I hear the phone.(Probably I need to attend this retreat!)Nevertheless, you may be able to find asignal, for yourself, that helps youdevelop a habit of regular “checking in”on your breathing, balance, relaxation,and spiritual connection.

ConclusionThis brief outline of methods is far fromexhaustive. Your teacher will have manygood methods, some tailored for yourparticular habits. Watch for a plannedlist of recommended further reading. ❑

�A champion of new music, flutist Patricia Spencer (www.patriciaspencerflute.com) is well known for her perform-ances, solo and chamber recordings,and commissioning of present-day com-posers. She is a member of the Da CapoChamber Players and on the faculty ofBard College and Hofstra University.

©2007 Patricia Spencer

UPDATE ON NEW YORK FLUTE FAIR 2007:

STAR TRACK, SETTING YOUR COURSE

Katherine Fink, Flute Fair ChairDate: Saturday, March 10, 2007Venue: Union Theological Seminary

International soloist and teacher Carol Wincenc inspires a day of career planning with stellar performances, master-classes and lectures, including a world premiere by illustrious composer Paul Schoenfield. Teachers, future stars and stargazers will enjoy this view from the top. Please check www.nyfluteclub.org for detailed information and updates.

MASTERCLASS with CAROL WINCENC Those interested in participating in the masterclass should send a one-page resume and good quality recording (tape or CD) with two contrasting movements or works which you intend to perform at the class (standard flute or piccolo repertoire, no avant-garde). Advanced high school level and beyond are preferred. Please send materials by February 1, 2007 to:

Jeanne Wilson2600 Netherland Avenue, Apt. 425Riverdale, NY 10463JAWflute@aol.com

ATTENTION ALL ENSEMBLE TEACHERS! Please contact Stefani Starin at Starin@newband.org by February 1, 2007 if you are interested in having your studentensemble perform at NY Flute Fair 2007 on Saturday March 10 at 2:00 pm. Any ensemble of three or more students(ages up to 18) is eligible. Maximum 10 minutes for each group.

NEW YORK FLUTE CLUB ANNUAL COMPETITIONThe preliminary auditions will be held at the Kaplan Space at Carnegie Hall on March 9, 2007 with final auditions at theFlute Fair on March 10. Winners will perform at the Yamaha Piano Salon on April 29. Eligible age is 18–27, applicationsmust be postmarked by February 10. See www.nyfluteclub.org for details and application.

NYFC JAN07.6pp 12/30/06 9:46 AM Page 11

The New York Flute ClubPark West Finance StationP.O. Box 20613New York, NY 10025-1515

Happy New Year! The first Club eventfor 2007 will be a concert by the dizi master Tim Liu, fol-lowed by a dizi Q&A session and a post-concert dinner inChinatown. Rebecca Quigley’s interview left me impressedwith Tim’s good humor, his childhood dedication to music(how many junior high students do you know who wouldskip high school entrance exam coaching sessions topractice the flute in the park?), and expertise in dizi peda-gogy. Rebecca also had some questions for a Broadwaypractitioner of the dizi, David Weiss (see sidebar on p. 4).

This month we have two self-help articles on theclosely related topics of ergonomic fluting (Dave Wechsler’s “From the Presi-dent,” p. 2) and mindful relaxation (Pat Spencer on p. 9). We also have someupdates from Kathy Fink on Flute Fair 2007 (note that several planned eventshave early February deadlines for participants) and from Annette Baron on theensembles program.

Sue Carlson, the NYFC Newsletter's new layout/production editor, is thismonth’s Member Profile subject. First a freelance flutist and now a graphic pro-duction manager for a book company, she is probably the only one of our sub-jects who can claim a family opera company to volunteer with. Makes me wish Ihad a family opera company, but it is probably not an endeavor for the faint-hearted!

Anyway, all for now. See you soon. Best regards,

Katherine Saenger (klsaenger@yahoo.com)

January 21, 2007 concertSunday, 5:30 pm • YamahaPiano Salon, 689 Fifth Avenue (at 54th Street)

Tim Liu, dizi (Chinese bamboo flutes)

From theEditor

2006–2007 Concerts

87th SeasonOctober 29, 2006 • Sunday, 5:30 pmFENWICK SMITH, flute, and SALLY PINKAS,piano

November 19, 2006 • Sunday, 5:30 pmLEW TABACKIN, jazz artist

December 17, 2006 • Sunday, 5:30 pmLAUREL ZUCKER, flute, and MARK DELPRIORIA, guitarHoliday reception

January 21, 2007 • Sunday, 5:30 pm TIM LIU, Chinese bamboo flutes

February 25, 2007 • Sunday, 5:30 pm THE HANOVERIAN ENSEMBLEJOHN SOLUM and RICHARD WYTON,baroque flutes

March 10, 2007 • Saturday, all dayFLUTE FAIR 2007—CAROL WINCENC, Union Theological Seminary

April 29, 2007 • Sunday, 5:30 pm2007 NYFC COMPETITION WINNERS

May 20, 2007 • Sunday, 5:30 pm ANNUAL MEETING & ENSEMBLE CONCERTGreenwich House Music School

All concerts and events (except as noted) at YamahaPiano Salon, 689 Fifth Avenue (entrance betweenFifth and Madison on 54th Street). All dates and pro-grams subject to change. Tickets $10, only at the door;free to members. For more information, visit the NYFCwebsite at www.nyfluteclub.org or call 732-257-9082.

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